As a long-time enthusiast of authentic storytelling and a connoisseur of good humor, I can confidently say that we are currently witnessing a golden age of inclusive comedy dramas. The transformation in the industry is nothing short of revolutionary, and it’s all thanks to the brave individuals who have dared to share their unique experiences on our screens.
Over the last ten years, a persistent trend has been noticeable in boardrooms nationwide: a growing emphasis on authentic storytelling by commissioners and TV executives. This is due to social movements such as #MeToo and Black Lives Matter revealing systemic issues faced by marginalized communities in television and film. The challenge is significant and time-sensitive, but it’s one that must be tackled carefully to avoid creating shows that are less authentic than they aim to be.
Currently, it seems we’re experiencing a smaller scale revival – let’s call it a “mini-renaissance” – that emphasizes genuine, authentic storytelling. Those in control are now recognizing that the key to creating humorous, engaging, and diverse comedy-dramas lies not only in the subjects they portray but also in those who portray them and those who craft the stories behind the scenes. In other words, it’s all about having funny, entertaining, and diverse themes on both sides of the camera.
It’s quite noticeable, yet significant, that this change has led us to enjoy some of the finest and most diverse comedy productions in recent years.
Explore the BBC’s fresh comedy-drama titled “We Might Regret This.” This six-part production, penned by and featuring Kyla Harris, delves into a tale brimming with chaos, sorrow, and raw emotional exposure. The protagonist Freya, portrayed by Harris, is in her mid-thirties, involved with Abe (played by Darren Boyd from The Outlaws), an older man who becomes Freya’s full-time caretaker due to her status as a tetraplegic woman requiring constant assistance.
At first glance, the story might seem specialized or potentially risky to some producers. However, by giving Harris creative control as producer, writer, and lead actor, she has developed a show that resonates with everyone, regardless of their abilities or identities. This is achieved by focusing on our fundamental shared humanity. Her disability isn’t the primary focus, yet it’s not ignored either, creating a balance that allows for universal relatability.
In episodes 1 and 2, it’s immediately apparent that Freya signs with a current, fashion-forward agency. They make it clear that what she’s doing is “really in right now,” as they point towards her wheelchair. A person without personal experience or understanding of the community’s history with tokenism might not be able to craft such overt scenes that challenge stereotypes and repeatedly dispel microaggressions. From criticizing airbrushing to highlighting the scarcity of accessible restrooms and wheelchair space in most public places she encounters, Freya demonstrates how she manages the world – at times struggling significantly, a struggle not due to any fault of her own.
It’s quite an achievement to guide audiences through the process of catheter insertion, followed by bowel stimulation, without it feeling forced or out of place – and Harris manages this remarkably well. This success can be attributed to her unique storytelling style, which she executes with skill and doesn’t compromise for what some more seasoned producers might consider ‘unrelatable’. And rightly so.
Edward Bluemel, the star from Prime Video’s My Lady Jane, also shines in his role as Abe’s son Levi. He plays a man who has experienced mental health issues lately, and seeks validation from Freya’s capricious friend and personal assistant Jo (portrayed by Elena Saurel), who isn’t always reliable.
Accompanied by Jane, portrayed by Sally Phillips, this family setup resonates profoundly due to its relatable emotional restraint and dry wit, a trait often recognized among British viewers. Their characters delve into the raw themes of grief and loss as we learn that Levi’s brother tragically passed away when he was young.
However, Harris skillfully weaves the motif of grief throughout her narrative, consistently revealing the poignant thoughts of loss that surface in her fantasies about a life without her wheelchair. This subtle yet powerful storytelling technique is a testament to her unique ability to portray such depth and realism, as she draws upon her own personal experiences.
The outcome is a humorous piece, rich in genuine narration and comical moments that significantly contribute to its lasting impression.
There are others who also create shows based on distinctive personal experiences, like BAFTA Award winner Jack Rooke did with his show “Big Boys.” It’s another shining proof that when individuals with compelling narratives are given the freedom to express their stories creatively, the result can be truly captivating.
Channel 4’s latest productions, such as Candice Carty-Williams’s Queenie and Big Mood featuring Nicola Coughlan and Lydia West, demonstrate the success of empowering women to tell their own stories from beginning to end. Similarly, Lucia Keskin’s BBC comedy Things You Should’ve Done and Mawaan Rizwan’s Juice showcase how to skillfully blend personal experiences with humor without resorting to clichés like being overly sentimental or overly sweet. Instead, they offer a thoughtful and amusing portrayal that resonates deeply.
It’s surprising yet true that allowing gifted writers with diverse backgrounds and perspectives to develop and produce their own shows results in the most authentic television. This isn’t achieved by assembling an all-male team who consult a Diversity, Equity, and Inclusion (DEI) expert once, disregarding their advice for cheaper alternatives instead.
It’s evident from the hilarious content aired by British channels during the past year that giving individuals the opportunity to express themselves, whether as creators or performers, empowers those who used to be the targets of humor. Interestingly, they seem funnier when in control of their own narratives.
We Might Regret This is available to watch now on BBC iPlayer.
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2024-08-23 16:34